iPECIAL  CATALOGUE  NO,  5 


ROBERT  NANTEUIL 


Catalogue  for  an  Exhibition  of  his  Portraits 


With  an  Introduction  by 
LOUIS   R.  METCALFE 


To  be  opened  Saturday  the  fourth  of  October  and  to  last  until 
the  a 5th  of  that  month 


^  366  Fifth  Avenue,  New  York  City 


R.D.  153-1 


LOUIS  XIV 


Cat.  No.  43 


Illustrated  Catalogue  of  an 
EXHIBITION  OF  PORTRAITS 

BY 

Robert  Nanteuil 

1630-1678 

With  an  Introduction  by 
LOUIS  R.  METCALFE 


Opening  Exhibition  of  the  enlarged  Quarters  of 

R.  Ederheimer  Print  Cabinet 

366  Fifth  Avenue,     New  York 
OCTOBER,  1913 


COPIES  OF  THIS  CATALOGUE 
ONE  DOLLAR 


ARRANGED  AND  PRINTED 
BY  THE  BARNES  PRINTING  CO. 
?6  EAST  22nd  STREET.  NEW  YORK 


[ 

Digitized  by 

the  Internet  Archive 

in  2015 

https://archive.org/details/illustratedcatalOOnant 


Original  Drawing  by  Nanteuil  Cat.  No.  1 

THE  PORTRAIT  OF  ANTOINE  ARNAULD 


:  :  PREFACE  :  : 


T  has  always  been  my  ambition  that  my  special 
catalogues  should  not  be  trade  publications 
the  ultimate  fate  of  which  would  be  the 
waste  basket,  but  that  they  should  possess 
at  least  some  scientific  merit,  so  that  they 
might  find  their  way  as  useful  reference  to 
the  library  shelves  of  the  collector. 

I  am  most  happy  indeed  to  be  able  to 
open  my  enlarged  quarters  for  this  coming 
season  with  a  special  exhibition,  the  catalogue 
of  which  may  contain  a  few  points  of  last- 
ing interest.. 

Having  devoted  my  studies  of  this  summer  to  an  altogether  different 
field  than  the  one  presented  here,  studies  which  will  form  the  basis  for  one 
of  the  next  two  publications  on  which  I  am  now  working,  I  have  here 
departed  from  my  old  rule  of  writing  the  biographical  introduction  to  the 
catalogue  myself.  To  my  great  satisfaction  one  who  is  more  worthy  to 
preface  a  catalogue  devoted  to  Nanteuil,  Mr.  Louis  R.  Metcalfe,  has 
most  kindly  undertaken  this  task,  and  has  contributed  reading  matter  on 
the  master,  which  contains  new  points  of  general  interest. 

The  second  point  which  may  give  this  little  book  a  lasting  value  is 
that  I  am  fortunate  enough  to  describe  and  reproduce  here  for  the  first 
time  a  hitherto  unpublished  drawing  by  our  master.  Drawings  of  Nanteuil 
are  of  the  greatest  rarity.  The  one  shown  here  represents  one  of  the 
known  personalities  of  the  period,  the  portrait  of  Antoine  Arnauld,  whose 
features  are  known  to  us  from  Edelinck's  engraving,  and  is  authentic 
beyond  any  doubt. 

The  material  here  shown  will  give  a  fair  idea  of  the  work  of  the 
greatest  master  of  portraiture,  all  his  various  styles  in  the  different  periods 
of  his  career  are  well  represented  by  numerous  "chefs  d'oeuvre"  of  his  art. 

To  those  friends  who  kindly  contributed  to  the  exhibit  and  espe- 
cially to  Mr.  Metcalfe,  Nanteuil's  prophet  in  this  country,  I  herewith  want 
to  express  my  profound  gratitude. 

Richard  Ederheimer. 

September,  1913. 

3 


ROBERT  NANTEUIL 

(1630-1678) 

Revolutions  in  fashions,  as  well  as  in  politics,  have  played 
havoc  with  many  a  well-established  reputation  and  cast  strange 
veils  over  countless  niches  in  the  temple  of  fame. 

When,  on  the  ninth  of  December,  1678,  there  died  in  Paris,  in 
his  house  at  the  end  of  the  Pont  Neuf,  Robert  Nanteuil,  dessinateur 
et  graveur  du  roi,  France  lost  one  of  the  most  brilliant  ornaments 
of  her  most  brilliant  century.  ^Nanteuil  would  have  been  celebrated 
if  he  had  not  been  more  than  the  head  of  the  French  School  of 
Engraving,  for  in  those  days  that  art  was  more  popular  than  the 
one  to  which  it  was  as  a  handmaiden  —  Painting.  But  for  the 
nation  at  large  Nanteuil  was  more  than  a  great  technician,  he 
was  the  most  able  illustrator  of  an  epoch  replete  with  illustrious 
characters;  he  was  the  real  painter  of  the  French  Portrait  Gallery 
of  the  Seventeenth  Century,  and  his  name  was  a  household  word. 
He  was  considered  to  be  without  an  equal  in  his  time,  and  the  en- 
gravers of  a  hundred  years  afterward  looked  upon  him  as  their 
master.    Yet,  what  happened  after  his  death? 

The  fashion  changed  in  everything,  and  portrait  engraving 
became  less  and  less  serious  and  dignified,  as  the  tendency  for  dis- 
play increased.  In  the  plates  of  the  Drevets  and  other  artists  of 
the  Regency  period  more  importance  was  given  to  the  costume 
than  to  the  head,  and  when  finally  the  Eighteenth  Century  was  in 
full  swing  in  the  reign  of  Louis  XV,  the  taille  douce  was  popular 
chiefly  for  the  pretty  pictures  it  usually  depicted.  Such  serious, 
sober  art  as  the  quiet  engraved  heads  which  had  been  so  much  ad- 
mired in  the  days  of  the  Grand  Monarque  fell  into  positive  dis- 
grace. The  portraits  of  Nanteuil  were  relegated  to  the  garret,  and 
they  collected  much  dust  in  the  portfolios  of  the  print  dealers. 
During  the  Empire  and  the  Restoration  they  were  all  but  forgotten, 
and  at  the  auction  sales  of  the  Nineteenth  Century,  only  a  few 
well-known  subjects  succeeded  in  fetching  more  than  a  ridiculously 

4. 


R.D.  37 


POMPONNK  DE  BELLIEVRE 


Cat.  No.  10 


low  figure.  In  1801,  the  portrait  of  Pomponne  de  Bellievre  was 
sold  for  $9,  while  sixteen  years  later  it  jumped  to  $16.  The  pro- 
gress was  slow,  but  then  it  must  be  remembered  that  as  late  as  1775, 
the  complete  work  of  Nanteuil  in  280  pieces  had  fetched  only 
about  $100 ;  this  was  at  the  Mariette  sale. 

It  is  only  about  six  years  ago  that  interest  in  Nanteuil's  work 
was  revived,  but  this  time  the  appreciation  was  sincere  and  the 
enthusiasm  of  collectors  decidedly  keen.  It  has  once  for  all  been 
acclaimed  as  one  of  the  most  beautiful  things  in  the  realm  of  Art, 
and  it  is  being  persistently  sought  after  on  both  sides  of  the  At- 
lantic. If  the  average  portrait  at  the  Lawson  Sale  in  1908  fetched 
a  record  price,  the  Vente  Hubert  in  Paris  a  year  or  so  later,  saw 
this  figure  doubled.  At  this  time  an  abbe  in  Normandy  who  had 
only  a  few  years  previously  bought  a  number  of  Nanteuil  por- 
traits from  a  Paris  dealer,  consented  to  part  with  them,  but  only 
after  he  had  added  a  zero  to  the  purchase  price  of  each  print.  The 
dealer  paid  it  unhesitatingly. 

American  interest  in  this  artist  was  first  aroused  by  the  mas- 
terly treatment  of  his  work  in  Mr.  T.  H.  Thomas'  "French  Portrait 
Engravers  of  the  Seventeenth  and  Eighteenth  Centuries,"  and  by 
an  article  on  Nanteuil  which  appeared  in  the  Print  Collectors' 
Quarterly.  Since  then  all  the  fine  impressions  of  that  master's 
work  which  have  appeared  on  the  market  speedily  found  their  way 
into  the  collections  of  the  discerning.  The  number  of  enthusiasts 
is  increasing,  and  the  time  is  not  far  off  when  fine  Nanteuils  will 
be  as  rare  as  the  masterpieces  of  Rembrandt,  Diirer  and  Mar- 
cantonio. 

What  is  it  that  makes  these  plates  worthy  of  so  much  ad- 
miration ? 

The  answer  is  readily  found.  They  represent  the  superlative 
degree,  for  they  are  indubitably  the  most  beautiful  things  of  their 
kind.  The  genius,  enthusiasm  and  perseverance  of  the  artist  en- 
abled him  to  master  his  art  as  completely  as  few  artists  ever  did 
and  he  remains  for  all  time  the  pastmaster  of  the  engraved  por- 
trait.   There  was  great  talent  in  that  school  of  engravers  which 

5 


Colbert  formed  and  fostered  at  the  Gobelins,  but  the  connoisseur 
may  pore  for  days  over  the  work  of  Mellan,  Morin,  Edelinck, 
Masson,  the  Poillys,  Lenfant,  Van  Schuppen,  Pitau,  Trouvain, 
Vermeulen,  Vallet,  Baudet,  Lubin,  Huret,  Grignion,  Duflos  and 
several  others,  and  admire  their  skill  in  copper  cutting  and  their 
brilliant  drawing  and  modeling  in  a  hundred  splendid  compositions 
— the  moment  he  turns  to  Nanteuil's  Loret  or  his  life-sized  por- 
trait of  Turenne,  he  will  have  such  a  revelation  of  technical  power 
combined  with  God-sent  genius  for  expressing  human  character 
that  he  is  bound  to  exclaim :  "Nanteuil  is  in  a  class  by  himself ; 
this  work  is  perfection." 

What  makes  of  him  such  an  important  artist  is  the  fact 
that  he  was  great  as  a  painter  as  well  as  an  engraver.  According 
to  his  pupil  Domenico  Tempesti,  who  has  carefully  transmitted 
to  posterity  a  great  number  of  their  master's  sayings,  Nanteuil 
considered  that  the  successful  portrait  engraver  had  to  be  three 
men  in  one,  a  draughtsman,  for  the  correct  delineation  of  the  form, 
an  engraver  or  sculptor  for  the  intelligent  handling  of  the  in- 
numerable distinct  lines  which  produce  the  modeling,  and  a  painter 
for  the  unity  and  delicacy  of  the  composition.  The  word  he  uses 
is  "tendresse."  That  he  was  a  born  portraitist  is  proved  by  the 
enormous  proportion  of  heads  which  he  drew  from  life;  he  was 
par  excellence  the  ideal  peintre-graveur.  Mellan  is  his  only  rival, 
for  Masson,  although  he  engraved  as  many  as  thirty-six  plates 
ad  vivum  cannot  possibly  be  compared  to  him  as  a  draughtsman, 
and  Edelinck  is  not  known  to  have  designed  a  single  portrait  from 
life. 

These  original  drawings  of  which  so  few  have  been  preserved, 
were  at  first  done  with  crayons,  but  gradually  the  artist  developed 
his  ability  to  use  colored  chalks  until  he  became  the  first  great 
pastellist.  Tempesti  gives  an  interesting  description  of  how  Nan- 
teuil systematized  his  work  from  life.  The  pastel  portrait  was 
made  in  three  sittings  of  exactly  two  hours  each,  the  first  of  which 
was  entirely  devoted  to  a  diagram  in  which  the  distances  between 
the  principal  point  of  the  face  were  laid  out  with  mathematical 


6 


R.D.  198-1       HENRI  de  8AVOIE,  DUC  de  NEMOURS       Cat.  No.  57 


precision.  The  second  was  taken  up  with  the  general  distribution 
of  color  and  modelling,  and  during  the  third  the  artist  secured  all 
the  refinement  of  his  model's  expression.  He  believed  in  catching 
him  in  a  cheerful  mood.  "A  man  shows  what  natural  animation 
he  possesses,  at  the  moment  when,  on  being  called  he  suddenly 
turns  around  and  listens;  it  is  then  that  his  portrait  should  be 
made."  To  keep  his  model  from  being  bored  was  his  constant 
preoccupation,  and  he  would  invite  his  friends  to  sit  around  and 
enliven  the  conversation.  Well  can  we  imagine  the  effect  on  the 
sitter  of  the  Wit  of  Sarrazin,  the  sarcasm  of  Menage  and  the  ir- 
resistible humor  of  Loret.  Anyone  who  sat  to  Nanteuil,  remained 
his  friend  for  life;  it  is  evident  that  they  all  enjoyed  being  his 
models  because  their  smile  is  so  natural. 

The  only  troublesome  one  was  the  King;  at  the  end  he  got 
tired  of  sitting  for  Nanteuil  every  year,  and  that  conscientious 
artist  had  some  difficulty  in  following  the  changes  which  time 
brought  to  the  royal  features.  Nevertheless,  he  succeeded  admir- 
ably. His  talent  for  catching  a  likeness  was  so  great  that  it  met 
with  instant  recognition.  After  he  had  arrived  in  Paris  from 
Rheims  in  1647,  penniless  and  unknown,  "it  was  not  long,"  says 
the  chronicler,  "before  Nanteuil  was  forced  to  move  into  lodgings 
better  suited  for  the  reception  of  the  distinguished  persons  who 
sat  for  him."  Few  artists  began  their  career  under  more  powerful 
patronage.  We  can  see  by  his  earliest  print  that  he  was  befriended 
by  Dupuy,  the  royal  librarian,  and  by  the  Marquis  of  Mouy  and 
the  Dukes  of  Mercoeur,  Nemours  and  Bouillon.  From  these 
grandees  to  the  Court  there  was  but  a  step,  a  step  on  which  rested 
the  Prime  Ministers.  To  the  faithful  portraiture  of  these  he  de- 
voted all  his  powers,  and  he  engraved  no  less  than  fourteen  por- 
traits of  that  sly  diplomatist  of  the  old  school,  Mamrin,  who  al- 
ways called  him  Mons.  de  Natouil— six  of  his  fellow  townsmen, 
Colbert  and  ten  of  that  faithful  servant  Michel  le  Tellier  who  be- 
came Chancellor. 

Of  the  King  he  made  eleven  different  engraved  portraits  and 

7 


they  remain  the  most  convincing  documents  we  possess  on  the  roi 
soleil. 

Between  1650  and  the  year  of  his  death,  Nanteuil  had  for 
models  so  many  of  the  prominent  personages  of  Versailles  and 
Paris  that  Boileau  could  not  help  remarking  in  verse  that  to  be 
painted  by  that  artist  was  to  be  crowned  with  laurels.  There  are 
no  less  than  216  different  plates,  some  being  almost  miniatures, 
and  36  life  size,  and  each  one  has  great  human  interest.  Through- 
out them  all  the  technique  is  most  remarkable,  whether  the  face  be 
modelled  with  dots,  a  la  Morin,  as  in  the  little  portrait  of  Dupuy — 
or  whether  it  be  treated  in  long,  flowing  lines,  and  in  the  portraits 
of  Hesselin,  and  Perefixe  de  Beaumont,  he  outdistances  Mellan. 
When  he  has  fully  developed  his  own  inimitable  style,  the  portrait 
shows  incredible  finish  and  perfection  of  modeling  as  in  the  well- 
known  portrait  of  Poniponne  de  Bellievre  and  those  of  Auvrv, 
Nicolas  Fouquet,  Charles-Maurice  Le  Tellier,  de  Neufville,  Le 
Vayer  and  Colbert.  Nothing  more  simple  can  be  imagined  than 
the  portrait  of  Maridat,  nor  can  there  be  greater  refinement  of 
expression  than  in  those  of  Marolles  and  the  Marquis  Seguier  de 
Saint  Brisson. 

No  engraver  has  read  so  deeply  into  the  character  of  his  sit- 
ters ;  he  had  no  mannerisms  and  with  each  new  model  he  treated  a 
different  type.  In  his  work  we  have  all  the  characteristic  elements 
of  Seventeenth  Century  France.  We  have  the  worried  brows  of 
men  of  state  in  the  case  of  Arnauld  de  Pomponne  and  Colbert; 
the  overbearing  look  of  royalty,  in  Louis  XIV  and  his  mother, 
Anne  of  Austria;  the  sly  cunning  of  the  intriguing  politician  in 
the  portrait  of  the  brothers  Fouquet,  who  almost  stole  the  king- 
dom, and  of  Mazarin,  who  squeezed  a  fortune  out  of  the  state 
treasury;  the  prosperous  air  of  church  dignitaries — like  the  great 
Bossuet,  here  much  younger  than  in  his  famous  portrait  engraved 
by  Drevet,  and  Harlay  de  Chanvallon,  the  fawning  courtier,  whom 
Madame  de  Montespan  made  Archbishop  of  Paris.  The  quack  of 
the  day  is  not  missing,  for  in  Guenault  we  have  a  physician  of  the 
Queen,  who  is  undecided  as  to  what  new-fangled  pill  to  prescribe. 


8 


I^  D-  45-1  JACQUES  BENIGN E  BOSSUET  Cat.  No.  15 


The  poet  without  humor  is  well  represented  by  Chapelain,  and  tke 
jovial  satirist  of  the  day  finds  perfect  expression  in  the  rotund  face 
of  Loret.  There  are  knights  in  armor,  presidents  of  the  Parlia- 
ment in  ermine  mantles,  counsellors  of  the  King  in  their  black 
cassocks,  and  even  a  noble  woman,  Marie  de  Bragelogne,  in  the 
garb  of  a  deaconness.  All  these  plates  bear  the  stamp  of  a  por- 
traitist who  has  a  great  idea  of  his  art;  they  are  treated  with 
breadth  and  rare  distinction.  No  detail  of  the  costume  is  neglected, 
and  the  oval  frame  and  background  are  engraved  with  the  greatest 
care,  but  the  artist's  ideal  is  evident  at  every  step.  His  purpose 
was  to  express  character,  to  represent  a  living  being,  in  all  the  out- 
ward calm  of  nature,  and  his  efforts  were  crowned  with  success. 
I  cannot  conclude  better  than  by  quoting  the  last  paragraph  of 
Mr.  Thomas'  chapter  on  Nanteuil: — 

"Nanteuil  was  thoroughly  characteristic  of  his  time.  In  fact, 
all  the  qualities  of  his  genius — and  even  the  circumstances  of  his 
life,  contribute  to  make  his  art  a  perfect  expression — the  fullest 
expression  in  portraiture,  of  the  spirit  of  this  period.  Just  as  his 
sitters  were  the  foremost  men  of  that  wonderful  generation  which 
gave  to  the  reign  of  Louis  XIV  nearly  all  it  had  of  greatness  and 
brilliance, — so  his  qualities  were  the  finest  qualities  of  the  French 
genius  of  the  Seventeenth  Century — the  third  quarter  of  the  Sev- 
enteenth Century.  In  his  art  are  the  vitality  and  deep  inspiration — 
the  largeness  and  solidity, — the  perfection  of  form,  and  the  severe 
standard  of  taste, — the  measure  and  discipline  and  restraint,  all  of 
those  qualities,  in  fact,  which  have  made  the  arts  of  this  time 
stand  out  ever  since  as  classics.  Every  period  in  France  has  had 
one  painter  who  above  all  others  has  summed  up  its  whole  spirit. 
Nanteuil  is  the  painter  of  the  early  Louis  XIV — just  as  Rigaud 
was  to  be  of  the  later  Louis  XVI,  and  a  Philippe  de  Champaigne 
had  been  of  the  Louis  XIII.  So  that,  as  a  final  tribute  to  his  fame, 
we  must  give  Nanteuil  an  important  place  in  the  history  of  French 
Art — as  the  painter  of  an  epoch." 

Louis  R.  Metcalfe. 


9 


Catalogue 


(Arranged  in  the  order  of  Robert-Dumesnil.  All  items 
marked  with  an  asterisk  will  be  on  view  in  portfolio  or  on  shelves, 
all  others  on  the  walls.) 


I    Original  Drawing  by  Nanteuil 

representing  the  Portrait  of  Antoine  Arnauld  (1612-1694) 

The  famous  theologian  and  Port  Royalist,  whose  contro- 
versies on  the  Jansenist  and  Calvinist  questions  stirred 
Christendom. 

Crayon  drawing  in  black  and  red,  18^  in.  by  13^. 
See  reproduction  in  frontispiece. 


2    Anne  d'Autriche,  Reine  de  France  R.  D.  23 

The  most  important  of  the  six  portraits  which  the  artist 
made  of  women;  it  was  made  a  few  months  before  the 
Queen's  death. 

Second  state.    Engraved  in  1666. 


3    Simon  Arnauld  de  Pomponne,  Ministre  d'Etat 

R.  D.  24 

The  firm  statesman  who  is  so  often  mentioned  in  Madame  de 
Sevigne's  "Letters."  He  was  removed  from  office  by  the 
machinations  of  Louvois,  but  was  restored  to  royal  favor  in 
1691. 

Third  state.    Engraved  in  1675. 


10 


R.D.  32-1         ETIENNE  JEHANNOT  de  BARTILLAT        Cat.  No.  8 


4*  Dreux  d'Aubray,  Lieutenant  Civil  au  Chatelet  de  Paris 

R.  D.  25 

Only  state.   Engraved  in  1658. 

He  was  the  first  victim  of  his  daughter,  the  Marquise  dc 
Brinvilliers,  the  famous  poisoner  of  the  Seventeenth  Century, 


5    Claude  Auvry,  Eveque  de  Coutances, 

Tresorier  de  la  Sainte  Chapelle  R,  D.  26 

First  state.    Engraved  in  1660. 

One  of  the  most  delicate  and  subtle  portraits  of  the 
artist,  in  a  magnificent  impression. 


6*  Antoine  Barberin,  Cardinal,  Archeveque  de  Rheims, 

R.  D.  29 

He  was  the  head  of  the  famous  Barberini  family  of  Rome, 
which  had  made  itself  so  odious  by  its  exactions  that  it  was 
forced  to  take  refuge  in  France. 

Third  state.    Engraved  in  1664. 

7  The  Same  R.  D.  30 

Only  state.    Engraved  in  1664. 

8  Etienne  Jehannot  de  Bartillat,  Garde  du  Tresor  Royal 

R.  D.  32 

First  state.   Engraved  in  1666. 

Brilliant  impression  of  a  particularly  strong  and  deco- 
rative portrait. 
See  reproduction. 

11 


Frangois  de  Vendome,  Due  de  Beaufort  R.  D.  33 

The  "Roi  des  Halles"  of  the  War  of  the  Fronde. 
After  the  painting  by  Nocret. 
Second  state.  Engraved  in  165 1. 

Pomponne  de  Bellievre, 

Premier  President  au  Parliament  de  Paris 

R.  D.  37 

Sometime  Ambassador  to  Sweden,  and  one  of  the  few  philan- 
thropists of  his  time. 

Silvery  impression  of  the  second  state,  of  extreme 
beauty. 

Engraved  in  1657,  after  the  painting  by  Charles  Le- 
brun. 

See  reproduction. 

Frangois  Blondeau, 

President  de  la  Chambre  des  Comptes  R.  D.  40 

Only  state.   Engraved  in  1653. 

Most  successfully  treated  in  the  style  of  Mellan. 

Bochart  de  Saron,  Chanoine  de  I'Eglise  de  Paris 

R.  D.  42 

Only  state.   Engraved  in  165 1. 

Gilles  Boileau,  Greffier  de  la  Grand' 

Chambre  du  Parlement  de  Paris  R.  D.  43 

Father  of  the  poet. 

Second  state.    Engraved  in  1658. 

19 


14   Jacques  Benigne  Bossuet, 

Eveque  de  Condom,  puis  de  Meaux  R.  D.  45 

The  famous  preacher  whose  philippics  against  vanity  made 
the  entire  court  tremble,  in  the  chapel  of  Versailles,  is  here 
shown  in  a  particularly  human  portrait  which  represents  a 
precious  historic  document. 

Beautiful  impression  of  the  first  state,  before  change  of 
the  word  "Condomensis"  into  "Meldonensis.  Of  great 
rarity. 

Engraved  in  1674. 
See  reproduction. 

15*  Victor  Le  Bouthillier,  Archeveque  de  Tours         R.  D.  54 

Only  state  described  by  Robert  Dumesnil. 
Engraved  in  1654.   After  the  painting  by  Philippe  de 
Champaigne. 

16  Marie  de  Bragelogne,  Veuve  de  Claude  Le  Bouthillier, 

Surintendant  des  Finances  R.  D.  57 

She  was  the  mother  of  the  Secretary  of  State  Chavigny,  and 
is  shown  here  in  the  garb  of  a  deaconess.  The  modeling  of 
this  face  recalls  the  finest  portraits  of  Holbein. 

Very  fine  impression  of  the  fourth  state. 

Engraved  in  1656. 

17  Jean  Chapelain,  Membre  de  TAcademie  Frangaise 

R.  D.  60 

One  of  the  founders  of  the  Academy,  and  the  author  of  the 
poem  "La  Pucelle,"  a  work  which  was  completely  subscribed 

13 


to  before  it  had  been  begun,  and  read  by  very  few  after  it 
was  finished. 

Third  state.   Engraved  in  1655. 

18  Pierre  du  Cambout,  Cardinal  de  Coislin  R.  D.  69 

He  was  at  one  time  Chaplain  of  Versailles. 
Third  state.   Engraved  in  1658. 

19  Jean-Baptiste  Colbert,  Controleur  General  des  Finances 

R.  D.  72 

The  great  statesman  who  accomplished  so  much  for  France 
is  here  shown  at  the  beginning  of  his  career,  young  and 
apparently  carefree. 

Engraved  in  1662.   After  the  painting  by  Philippe  de 
Champaigne. 

From  the  Rumpf  Collection.    Magnificent  impression 
of  the  first  state,  without  margin. 
See  reproduction. 

20  Jacques  Nicolas  Colbert,  Archeveque  de  Rouen       R.  D.  78 

The  son  of  Jean-Baptiste  Colbert  is  here  shown  at  the  age 
of  fifteen,  when  he  was  Abbe  du  Bee. 

This  plate  was  made  for  the  thesis  of  Nicolas  de 
Bragelogne. 

Second  state.   Engraved  in  1673. 

21  Louis  Doni-d'Attichy,  Eveque  d'Autun  R.  D.  83 

Only  state.   Engraved  in  1665. 

x4 


JEAN-BAPTISTE  COLBERT  Cat.  No.  la 


22    Pierre  Dupuy,  Counseiller  d'Etat, 

Garde  de  la  Bibliotheque  Royale  R.  D.  87 

The  first  portrait  engraved  by  Nanteuil.   At  this  time  he  was 
under  the  influence  of  Morin. 

Only  state.   Engraved  in  1648. 

23*  The  Same  R.  D.  88 

Only  state.   Engraved  in  1652. 


24    Bernard  de  Foix  de  la  Valette,  Due  d'Espernon      R.  D.  91 

The  last  representative  of  feudalism  in  France.  He  was  the 
son  of  the  Due  d'Epernon  who  rode  in  the  carriage  with 
Henry  the  Fourth  when  the  latter  was  murdered. 

Second  state.   Engraved  in  1650,  when  Nanteuil  began 
to  come  under  the  influence  of  Mellan. 


25*  Hippolyte  Feret,  Cure  de  Saint-Nicolas-du-Chardon- 

net  et  Grand  Vicaire  de  Paris  R.  D.  95 

First  state.    Engraved  in  1669. 

26    Basile  Fouquet,  Abbe  de  Barbeaux  et  de  Rigny, 

Chancelier  des  Ordres  du  Roi  R.  D.  97 

He  was  the  brother  of  Nicolas  Fouquet  and  at  on  time  prin- 
cipal spy  of  Mazarin.    His  cowardice  hastened  the  downfall 
of  his  powerful  brother,  and  he  died  in  disgrace. 
From  the  Galichon  and  Ambroise  Firmin  Didot  Col- 
lections.   A  splendid  impression. 

First  state.    Engraved  in  1658.  - 


1^. 


27    Nicolas  Fouquet,  Surintendant  des  Finances         R.  D.  98 


It  is  particularly  interesting  to  note  that  this  portrait  was 
made  and  engraved  in  the  same  year  in  which  Fouquet  was 
arrested.  For  a  long  time  he  had  been  under  suspicion,  and 
must  have  realized,  as  he  sat  to  Nanteuil,  that  the  days  of  his 
power  were  numbered. 

Nothing  more  interesting  exists  in  the  realm  of  historical 
portraits. 

First  state.   Engraved  in  1661. 
See  reproduction. 


28*  Jean  Fronteau,  Chanoine  de  Sainte  Genevieve.      R.  D.  99 

Only  state.   Engraved  in  1663. 


29   Jean-Baptiste  Budes,  Comte  de  Guebriant, 

Marechal  de  France  R.  D.  104 

He  was  the  leader  of  the  armies  of  Louis  XIII,  a  famous 
general,  diplomat  and  orator. 

First  state.   Engraved  in  1655.   After  the  painting  by 
an  unknown  artist. 


30  Frangois  Guenault,  Medecin  de  la  Reine  R.  D.  105 

Only  state.   Engraved  in  1664. 

One  of  the  strongest  portraits  engraved  by  Nanteuil. 

31  Frangois  de  Harlay  de  Chanvallon,  Archeveque  de  Paris 

R.  D. 107 

He  was  the  fawning  courtier  who  was  made  Archbishop 

16 


R.D.  9S  NICOLAS  FOUQUET  Cat.  No.  27 


through  the  influence  of  Madame  de  Montespan.    It  is  said 
that  he  refused  to  give  Moliere  a  Christian  burial. 
Second  state.    Engraved  in  1671. 


32    Louis  Hesselin,  Conseiller  d'Etat, 

Maitre  de  la  Chambre  aux  Deniers  R.  D.  110 

First  state.   Engraved  in  1658. 

This  portrait  is  admirably  treated  in  the  style  of  Mel- 
Ian.   Robert  Dumesnil  thinks  it  was  the  result  of  a  bet. 


33    Guillaume  de  Lamoignon, 

Premier  President  du  Parlement  de  Paris     R.  D.  120 

Only  state.    Engraved  in  1663. 

A  particularly  beautiful  portrait  of  one  of  the  finest 
characters  of  the  century. 


34*  Louis  Phelypeaux  de  la  Vrilliere,  Secretaire  d'Etat 

R.  D.  123 

Third  state.   Engraved  in  1662. 


35    Michel  Le  Tellier,  Ministre  d'Etat, 

puis  Chancelier  et  Garde  des  Sceaux  de  France 

R.  D.  128 

Michel  Le  Tellier  signed  the  Revocation  of  the  Edict  of 

Nantes  and  died  happy  the  day  after. 

Engraved  in  1653.    After  the  painting  by  Philippe  de 

Champaigne. 

Brilliant  impression  of  the  second  state. 
See  reproduction. 

IT 


36  The  Same  R.  D.  135 

Engraved  in  1661. 

The  most  beautiful  of  the  ten  Le  Tellier  portraits. 
From  the  Ambroise  Firmin  Didot  Collection.  A 
splendid  impression  of  the  second  state. 

37  Charles  Maurice  Le  Tellier,  Archeveque  de  Reims 

R.  D.  139 

Fourth  state. 

This  is  the  portrait  engraved  in  1663,  but  retouched 
and  modified  in  1664. 

The  son  of  Michel  Le  Tellier  is  here  shown  as  Abbe  de 
Lagny.    He  distinguished  himself  by  his  hatred  of  Turenne. 

38  The  Same  R.  D.  140 

In  this  portrait  the  personage  is  shown  as  Coadjutor  of  the 
Archbishop  of  Rheims  and  Almoner  to  the  King. 

Engraved  in  1670. 

Superb  impression  of  the  first  state ;  of  great  rarity. 

39  Frangois  de  la  Mothe  le  Vayer,  Conseiller  d'Etat 

R.  D.  143 

One  of  the  first  members  of  the  French  Academy  and  a 
famous  savant  who  was  preceptor  of  the  Due  d'Orleans, 
brother  of  the  King,  and  in  1651  entrusted  with  the  education 
of  Louis  XIV  himself. 

Second  state.   Engraved  in  1661. 

This  plate  is  one  of  Nanteuil's  masterpieces. 

See  reproduction  on  cover. 


18 


R.D.  123 


MICHEL  LE  1  ELLIER 


Cat.  No.  35 


40*  Dominique  de  Ligny,  Eveque  de  Meaux 
Only  state.    Engraved  in  1661. 


R.  D.  145 


41    Hugues  de  Lionne,  Secretaire  d'Etat 

R.  D.  146 

First  state.   Engraved  in  1655. 

One  of  the  most  charming  of  the  set  of  small  portraits 
of  personal  friends  of  the  artist. 


42    Jean  Loret,  Poete  R.  D.  150 

The  author  of  "La  Muse  historique"  and  the  famous  pamph- 
leteer of  the  War  of  the  Fronde. 

Third  state.   Engraved  in  1658. 

A  masterpiece  of  portrait  engraving. 

Kindly  lent  for  this  exhibition. 


43  Louis  XIV.  R.  D.  153 

Engraved  in  1662. 

This  is  the  engraving  of  the  first  of  the  royal  portraits 
which  Nanteuil  made  from  life.  The  King  v^as  at  that 
time  24  years  old  and  under  the  spell  of  Mademoiselle 
de  la  Valliere. 

Beautiful  impression  of  the  first  state ;  of  the  greatest 
rarity. 

See  reproduction. 

44  Frangois  Mallier  du  Houssay,  Eveque  de  Troy      R.  D.  167 

Second  state.    Engraved  in  1657.   After  the  painting 
by  Philippe  de  Champaigne. 

19 


45 


Pierre  de  Maridat  de  Serrieres,  Conseiller  au  grand  Conseil 

R.  D.  i68 


Only  state.   Engraved  in  1653. 

This  plate  shows  Nanteuil's  technique  reduced  to  its 
greatest  simplicity. 


46  Michel  de  Marolles,  Abbe  de  Villeloin,  Homme  de 

lettres  et  grand  curieux  d'estampes  R.  D.  171 

He  was  the  prince  of  print-collectors,  who  sold  his  collection 
of  123,400  original  drawings  and  prints  to  the  King.  Besides 
he  was  a  warm  friend  of  the  artist. 

First  state.    Engraved  in  1657. 

47  Jean  de  Maupeou,  Eveque  de  Chalons-sur  Saone.   R.  D.  173 

Second  state.   Engraved  in  1671. 

48  Jules  Mazarin,  Cardinal,  Ministre  d'Etat  R.  D.  178 
Only  state.   Engraved  in  1656. 


49*  The  Same  R.  D.  180 

In  the  two  cartouches  are  represented  the  battle  of  Rethel 
during  the  Fronde,  and  the  raising  of  the  siege  of  Arras  by 
the  Spaniards. 

Second  state.   Engraved  in  1656. 


50   The  Same  R.  D.  184 

First  state.    Engraved  in  1659. 
See  reproduction. 

20 


R.D.  184-1 


CARDINAL  MAZARIN 


Cat.  No.  50 


51    The  Same  R.  D.  187 

Engraved  in  1661,  after  the  painting  by  Mignard. 
First  state,  with  the  inscription:  "Hie  Est  Monstro- 
rum  Domitor  Pacator  et  Orbis." 


52    Henri  de  Mesmes,  President  a  Mortier  au 

Parlement  de  Paris  R.  D.  191 

First  state.   Engraved  in  1650. 

A  fine  impression  of  one  of  the  early  portraits,  en- 
graved when  the  artist  was  under  the  influence  of 
Mellan. 

See  reproduction. 

53*  Jean  Antoine  de  Mesmes,  President  a  Mortier  au 

Parlement  de  Paris  R.  D.  192 

First  state.    Engraved  in  1655. 

54  Edouard  Mole,  President  a  Mortier  au  Parliament 

de  Paris  R.  D.  193 

Only  state.    Engraved  in  1653.    After  the  painting 
by  an  unknown  artist. 

55  Frangois  Mole,  Abbe  de  Sainte  Croix  de  Bordeaux, 

puis  Maitre  des  Requetes  R.  D.  195 

Only  state.    Engraved  in  1649,  the  earliest 

plates  of  the  artist. 


56*  Henri  de  Lorraine,  Marquis  de  Mouy 

First  state.    Engraved  in  165 1. 

91 


R.  D. 197 


57  Henri  de  Savoie,  Due  de  Nemours  R.  D.  198 

Engraved  in  165 1. 

Impression  of  the  first  state  and  supreme  beauty;  of 
great  rarity. 
See  reproduction. 

58  Frangois  de  Nesmond,  Eveque  de  Bayeux  R.  D.  202 

Fourth  state.    Engraved  in  1663. 

59  Ferdinand  de  Neufville,  Eveque  de  Chartres         R.  D.  203 

Brilliant  impression  of  the  second  state.    Engraved  in 
1657,  after  the  painting  by  Philippe  de  Champaigne. 
One  of  the  most  beautiful  of  all  engraved  portraits. 
See  reproduction. 

Co    Nicolas  Potier  de  Novion,  Premier  President  au 

Parlement  de  Paris  R.  D.  206 

Second  state.    Engraved  in  1656. 


61    Hardouin  de  Perefixe  de  Beaumont, 

Archeveque  de  Paris  R.  D.  211 

He  was  chosen  in  1644  to  be  the  preceptor  of  the  King — 
became  four  years  later  Bishop  of  Rodez,  then  Confessor 
to  Louis  XIV  and  Archbishop  of  Paris.  He  wrote  a  life  of 
Henry  IV,  which  became  very  popular. 

The  first  of  the  four  engraved  portraits  of  Perefixe  is  a  pen- 
dant to  that  of  Hesselin — and  a  remarkably  successful  imi- 
tation of  Mellan  at  his  best. 

First  state.   Engraved  in  1662. 


92 


R.D.  191-1 


HENRI  DE  MESMES 


Cat.  No.  59 


62*  The  Same 

Second  state.   Engraved  in  1663. 


R.  D. 212 


63    The  Same  r.  d.  213 

Only  state.    Engraved  in  1665. 

64*  Claude  Regnauldin,  Procureur  General  au  grand  Conseil  * 

R.  D.  216 

Second  state.   Engraved  in  1658. 

65    Pierre  Seguier  de  Saint-Brisson,  Prevot  de  Paris    R.  D.  224 

Only  state.   Engraved  in  1659. 

This  portrait  of  a  close  friend  of  the  artist  is  one  of 
Nanteuil's  masterpieces — a  superb  and  most  subtle 
piece  of  characterization. 

66*  Jean  Baptiste  van  Steenberghen,  Conseiller  du  Roi  au 

Conseil  de  Flandre  R.  D.  226 

Fourth  state. 

Engraved  in  1668.  After  the  painting  by  Duchastel. 

67    Louis  Frangois  de  Suze,  Eveque  de  Viviers        R.  D.  227 

This  portrait  shows  Nanteuils  draughtsmanship  at  its  best. 
De  Suze  died  in  1690  the  oldest  Bishop  in  Christendom:  he 
had  held  the  See  of  Viviers  for  seventy-six  years. 

Engraved  in  1656. 

Impression  of  the  first  state  of  greatest  brilliancy. 

23 


68*  The  Same 


Impression  of  the  second  state 


69    Denis  Talon,  President  a  Mortier  au  Parliament 

de  Paris  R.  D.  228 

Talon  had  been  Procureur  General  at  the  famous  trial  of 
Nicolas  Fouquet. 

Only  state.   Engraved  in  1656. 


70    Claude  Thevenin,  Chanoine  de  TEglise  de  Paris 

R.  D.  231 

Engraved  in  1657. 

Superb  impression  of  the  second  state ;  very  rare. 


Engravings  sold  during  the  course  of  the  exhibition  will  not  be 
delivered  before  its  close. 


94 


R.J).  203 


FERDINAND  de  NEUFVILLE 


